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Journal articles on the topic 'Theatre stages'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.

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The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers in the art theatre led many of them to the idea of creating their own companies in opposition to the Broadway theatre in many regions of the United States. It was the nascence of the movement of non-profit theatres that became an alternate to Broadway commercialism, attracted all the new creative forces of the American theatre. Analyzing the activities of number of non-profit theatres such as Cleveland Playhouse, Arena Stage, Alley Theater, the conclusion was made that they all played an important role in the development of the movement of the regional theatres of the United States. The famous “Arena Stage” Theatre, like other regional theaters, developed traditions of non-profit theatres of the USA, including the ideas of “little” and “arti” theatres. The study of non-commercial drama theatres in the United States is relevant for modern Russia. Exploring the process of evolution of noncommercial companies the author concluded that the theatre is primarily a creative, artistic institution, that is to be valued precisely for its contribution and influence on the spiritual life of the audience.

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2

Matvieieva, Kateryna. "REPERTOIRE TRADITION OF THE UKRAINIAN DRAMA THEATRE: HISTORICAL AND CULTURAL ASPECT." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 71–84. http://dx.doi.org/10.31866/2410-1915.22.2021.235896.

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The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrainian theatre are identified, the influence of traditions and society on the work of leading Ukrainian theatre figures is justified; the boundaries of the concept of “repertoire traditions” are expanded. Conclusions. The article examines the peculiarities of the development of Ukrainian theatre from the creation of the first professional theatre in Ukraine to the present day, highlights the impact of repertoire censorship. Five stages of the formation of the repertoire traditions of Ukrainian drama theatres are described: the period of the birth of Ukrainian drama (I. Kotliarevsky); further repertoire traditions in Tsarist Russia era; the formation of modern Ukrainian theatre (Les Kurbas); the period of World War II and post-war times, when there were attempts to transform the Ukrainian theatre into a Soviet one. It was found out that a unique feature of modern Ukrainian theatre is performances on second stages, one-person production, and the use of advanced technology.

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3

Stefanova, Kalina. "When drama theatre meets puppetry: How a unique symbiosis brought about distinctive changes in Bulgaria’s theatre." Maska 31, no. 181 (December 1, 2016): 120–28. http://dx.doi.org/10.1386/maska.31.181-182.120_1.

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The text outlines the unique symbiosis between drama and puppetry that started taking shape on Bulgarian theatre stages in the mid-1990s and gradually became a distinctive new theatre reality that changed the face of Bulgarian theatre. It was created by Alexander Morfov, CREDO Theatre and Stefan Moskov, along with a number of actors – all of them puppet theatre graduates – in their collaboration with the Bulgarian National (and other drama) Theater(s).

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Thomas, Kyle A. "The Medieval Space: Early Medieval Documents as Stages." Theatre Survey 59, no. 1 (January 2018): 4–22. http://dx.doi.org/10.1017/s0040557417000461.

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Peter Brook begins the second chapter ofThe Empty Space,“The Holy Theatre,” with a lament for the loss of sacred approaches to theatre; approaches that satisfy a community's need to make visible its identity, its hope, and its history. In describing the vacuum within the modern theatre once occupied by ceremony—what he defines as the importance of a noble aim for theatre—Brook critiques hollow and backward attempts to fill new and grand spaces with old and meaningless ritual. In postwar Europe, he saw a need for new spaces that “crie[d] out for a new ceremony, but of course it is the new ceremony that should have come first—it is the ceremony in all its meanings that should have dictated the shape of the place.” Brook's assessment of postwar European bourgeois theatre and its search for new and meaningful agendas is framed by conceptions of space as antecedent to action, requiring only performer and audience in order for theatre to occur, and for a space to be called a theatre. Indeed, theatrical space is always a product of well-established cultural performance conventions—a phenomenon common throughout history. Brook's critique focuses on the conventions of theatrical space that developed from the romantic dramas and spectacle-driven performances of the late nineteenth century and continued well into the twentieth century. Echoing Bertolt Brecht, Brook rejected theatres that predetermined the limits of drama and performance, arguing that it was necessary to strip them of conventional expectations in order to lay bare their potential. Essentially, he asks: When and how does a space become a theatre?

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5

Thompson, Cheryl. "The Show Did Go On." Canadian Theatre Review 187 (July 1, 2021): 91–93. http://dx.doi.org/10.3138/ctr.187.027.

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Using examples from Toronto’s newspapers, this article examines the impact of the 1918–19 Spanish flu pandemic on the city's theatre and the changes that followed in the twenties. Like during the COVID-19 pandemic, in 1918 health boards across Ontario ordered all theatres to close. However, after two weeks, theatres opened, and productions from New York City’s Broadway, such as the musical comedy Ask Dad, appeared at the Royal Alexandra Theatre, to rave reviews. Toronto’s stages became more diverse following the Spanish flu, with productions such as Shuffle Along, the first all-Black musical on Broadway, which hit the city’s stages in 1923, and one of the first locally cast shows, Amateur Minstrel Frolics, which appeared in 1924 at the Winter Garden Theatre. This article explores how and why the theatre changed after the last pandemic and what issues, such as those related to race and gender, lingered on.

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6

Pukelytė, Ina. "Front Theatre and Variety Theatre in Lithuania During World War II." Art History & Criticism 16, no. 1 (December 1, 2020): 95–104. http://dx.doi.org/10.2478/mik-2020-0006.

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SummaryThis article reveals how theatre on small stages functioned in Lithuania during World War II and what was its impact on different audiences. It discusses two topics: 1) specificities of the front theatre intended for German soldiers and their administration; 2) specificities of variety theatre intended to all kinds of audiences. Front theatres in the Third Reich were a well-structured and well-financed organisation that served not only German soldiers and army officials but was an attractive job place for artists. Shows were given in all the occupied territories and thus the morale of the German army was supposed to be maintained. Variety theatres, that is small stage performances, were dedicated to lower class audiences; these shows demanded no intellectual effort and were meant to entertain. Journalists, writing about this type of theatre, avoided to criticise it, because it nevertheless fulfilled its duty to stimulate citizens’ optimism and to make them more loyal to the Nazi government.

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7

Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (February 2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.

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8

Richards, G. "Stages of automation [theatre automation]." Engineering & Technology 3, no. 21 (December 6, 2008): 38–41. http://dx.doi.org/10.1049/et:20082106.

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9

Occheli, Vera. "Польская драматургия рубежа XIX–XX веков на сцене грузинского театра." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, no. 2 (August 16, 2021): 165–86. http://dx.doi.org/10.36770/bp.606.

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The article presents findings based on the materials of the Archives of the State Theatre Museum of Georgia and theatrical reviews published in the Georgian periodical press of the designated time. The obtained data allowed to draw a conclusion about the wide popularity of Polish drama on the stages of Tiflis and Kutaisi theatres. Polish drama attracted the audience not only with its high artistic skill, but also with the desire to get acquainted with the Polish theatre system, its ability to pose and solve important life problems. Plays by Stanislaw Przybyszewski, Jerzy Żuławski, Gabriela Zapolska, Michał Bałucki and others were staged in Georgian theatres. The dramatization of the novel Quo vadis? by Henryk Sienkewicz was particularly recognized among the Georgian public. The article also points to the great interest of the Georgian audience in modern Polish drama, especially the plays of Sławomir Mrożek.

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Eminov, Nurillo Qosim Ogli. "Theatre And The Stage As Educational And Enlightenment Establishment." American Journal of Interdisciplinary Innovations and Research 03, no. 02 (February 27, 2021): 16–20. http://dx.doi.org/10.37547/tajiir/volume03issue02-03.

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In every society the question of creating an image of a hero who embodied the sorrows and joys of the people has always been one of the most important problems. One can notice that the performances which are based on educational upbringing in the repertoires of Uzbek theatre art are becoming rare day by day. The present article represents detailed information about how to solve positively those problems. The author focused on such weak plays that are being staged on the theatre stages nowadays.

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11

Hirata, Oriza, and M. Cody Poulton. "Japanese Theatre and the International Stages." Asian Theatre Journal 19, no. 1 (2002): 240–43. http://dx.doi.org/10.1353/atj.2002.0010.

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12

Hannay, Zelda. "Death in modern theatre: stages of mortality." Mortality 25, no. 4 (December 11, 2019): 508–9. http://dx.doi.org/10.1080/13576275.2019.1676220.

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Francese, Joseph. "Staged Narratives/Narrative Stages: Essays on Italian Prose Narrative and Theatre." Italian Culture 37, no. 2 (July 3, 2019): 171–73. http://dx.doi.org/10.1080/01614622.2019.1683271.

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LITVIN, MARGARET, and JOHANNA SELLMAN. "An Icy Heaven: Arab Migration on Contemporary Nordic Stages." Theatre Research International 43, no. 1 (March 2018): 45–62. http://dx.doi.org/10.1017/s0307883318000056.

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At the height of the 2015–16 ‘refugee crisis’, how were immigrants and refugees portrayed and self-portrayed on Finnish and Swedish stages? The production and reception of two plays translated from Arabic – Karim Rashed's I Came to See You (2015) and Hassan Blasim's The Digital Hats Game (2016) – reveal a complex politics of representation in both scripting and staging. Reading Blasim and Rashed's works in light of Arab–Nordic literary studies and migration theatre studies, we also set them against two other migration-themed plays staged in Stockholm: Swedish writer Jonas Hassen Khemiri's groundbreaking Invasion! (2006) and British playwright Anders Lustgarten's more recent Lampedusa (2015). Blasim and Rashed, we argue, had to navigate three traps or boxes endemic to Arab diasporic theatre: the audience expectations of biographical voyeurism, orientalism and the allegory of collective worthiness. Both aimed to reject the first two expectations and embrace the third, seeking to define new directions in Nordic–Arab theatre.

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15

Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.

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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.

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16

Babnich, Judith, and Alex Pinkston. "The Omaha Magic Theatre: An Alternative Theatre for Mid-America." Theatre Survey 30, no. 1-2 (May 1989): 127–44. http://dx.doi.org/10.1017/s004055740000082x.

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Aspiring young actors traditionally leave their hometowns to seek training and performance experiences in America's theatre centers. Many choose to study and perform in New York City, and they carry with them to New York the naive assumption that only in the “Big Apple” can a theatre artist's dreams come true. But some become disenchanted with the New York theatre scene and gain a determination to create significant, non-commercial theatre in another part of the country. And, on occasion, they erect their alternative stages in the very towns from which they sprang.

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Stefanova, Kalina. "Criticism without adjectives: A fable about people from the edge." Maska 31, no. 181 (December 1, 2016): 130–37. http://dx.doi.org/10.1386/maska.31.181-182.130_1.

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Theatre and puppet director Alexander Morfov has been slowly revolutionizing Bulgarian theatre over the last 25 years. His most important contribution to this theatre is its emancipation from prejudice against stage spectacle. He has achieved this by ingeniously fusing the languages of drama and puppet theatre, which remains the only truly original and novel theatre reality on Bulgarian stages. The article focuses mainly on his performance On the Edge.

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18

Ther, Philipp. "Die Stadt, Der Adel Und Das Theater. Prag Und Lemberg Im 19. Jahrhundert Im Vergleich." East Central Europe 33, no. 1-2 (2006): 99–119. http://dx.doi.org/10.1163/187633006x00079.

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AbstractThis article examines nobles' influence on the culture of cities in East Central Europe. In a follow-up to his latest book, the author compares the opera theatres in Lemberg and Prague, and considers how they positioned themselves vis-á-vis their respective cities. The article explains the rise and fall of aristocratic dominance that for a long time ran counter to the embourgeoisement of the opera stages of Western Europe. In East Central Europe, the aristocracy was vital in establishing public theatres which became the most significant competitors of court theatres in the first half of the nineteenth century. The article also analyses power struggles over the theatre between various social and political groups in the second half of the nineteenth century, when the intelligentsia increasingly questioned nobles' domination of the theatre. Although these power struggles destabilized the respective opera houses at times, they contributed to the identification of the two cities with them. The article ends by outlining how Prague and Lemberg fashioned themselves as "opera cities."

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Sierz, Aleks. "‘Big Ideas’ for Big Stages, 2004." New Theatre Quarterly 21, no. 1 (January 26, 2005): 96–98. http://dx.doi.org/10.1017/s0266464x04210363.

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BERNARD, MIRIAM, MICHELLE RICKETT, DAVID AMIGONI, LUCY MUNRO, MICHAEL MURRAY, and JILL REZZANO. "Ages and Stages: the place of theatre in the lives of older people." Ageing and Society 35, no. 6 (March 10, 2014): 1119–45. http://dx.doi.org/10.1017/s0144686x14000038.

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ABSTRACTDespite the growing interest amongst gerontologists and literary and cultural scholars alike, in arts participation, ageing and the artistic outputs of older people, comparatively little attention has yet been paid to theatre and drama. Likewise, community or participatory theatre has long been used to address issues affecting marginalised or excluded groups, but it is a presently under-utilised medium for exploring ageing or for conveying positive messages about growing older. This paper seeks to address this lack of attention through a detailed case study of the place of one particular theatre – the Victoria/New Victoria Theatre in North Staffordshire, England – in the lives of older people. It provides an overview of the interdisciplinaryAges and Stagesproject which brought together social gerontologists, humanities scholars, psychologists, anthropologists and theatre practitioners, and presents findings from: the archival and empirical work exploring the theatre's pioneering social documentaries and its archive; individual/couple and group interviews with older people involved with the theatre (as audience members, volunteers, employees and sources); and ethnographic data gathered throughout the study. The findings reaffirm the continuing need to challenge stereotypes that the capacity for creativity and participation in later life unavoidably and inevitably declines; show how participation in creative and voluntary activities shapes meanings associated with key life transitions such as bereavement and retirement; and emphasise the positive role that theatre and drama can play as a medium for the inclusion of both older and younger people.

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Furay, Julia. "Stages of instruction: theatre, pedagogy and information literacy." Reference Services Review 42, no. 2 (June 3, 2014): 209–28. http://dx.doi.org/10.1108/rsr-09-2013-0047.

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Purpose – The purpose of this article is to offer a new perspective on library instruction by examining its relationship with various aspects of theatrical performance. Design/methodology/approach – The author uses personal observations as inspiration to examine what has been written in scholarly literature about various theatrical practices in instruction, applying the conversation to the library instruction context. Additionally, research from business and professional literature is also incorporated into the discussion. This literature review focuses on three general areas. First, a review on how to use tools and perspectives from the theater to help librarians prepare their lessons; second, an examination of the librarian as performer; and third, a discussion on how theater might help librarians deal with repetition and burnout. Findings – The literature on this subject has been extensive and includes an all-encompassing range of practical suggestions, research findings and theoretical analyses. Research limitations/implications – This article looks at this subject through the lens of scholarly literature. Empirical research on this topic is still needed. Practical implications – The author presents a number of theatrical practices librarians might consider incorporating into their instruction sessions. Originality/value – Much has been written about the connection between teaching and theatrical performance, but seldom from a librarian’s point of view. This article is of value to librarians looking to develop a memorable one-shot instruction session and those looking to examine the connection between teaching and performance.

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Losardo, Angela, Derek Davidson, and Kimberly McCullough. "Stages of Success: The Theatre and Therapy Project." ASHA Leader 24, no. 3 (March 2019): 34–36. http://dx.doi.org/10.1044/leader.ae.24032019.34.

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23

Sainer, Arthur. "The Several Stages of the Embattled Living Theatre." Theater 16, no. 2 (1985): 52–57. http://dx.doi.org/10.1215/01610775-16-2-52.

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24

Spodniaková, Zuzana. "The Interpretation of the Authorial Creation of Vladimir Vysotsky on Contemporary Moscow Stages." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 267–87. http://dx.doi.org/10.2478/sd-2018-0016.

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Abstract The study presents an overview and analysis of contemporary Moscow productions inspired by the personality and work of the legendary Russian actor and poet of the latter half of the 20th century, singer and songwriter Vladimir Semyonovich Vysotsky (1938 – 1980). The authoress covers both the older productions which have been on the repertoires of theatres for several years and more recent productions staged this year on the occasion of the artist’s unlived 80th birthday. Researching on the productions by different theatre makers, staged by various theatres and drama ensembles, points at the importance and up-to-dateness of the creative legacy of Vladimir Vysotsky and at the significance of him as a personality that has become a legend and a component part of the cultural history of Soviet and post-Soviet eras. The productions constitute a significant part of the unwavering cult of his personality.

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Antochi, Carmen. "Sorana Țopa - A destiny under the wing of time." Theatrical Colloquia 8, no. 2 (December 1, 2018): 301–19. http://dx.doi.org/10.2478/tco-2018-0023.

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Abstract During the first world war, the city of Iasi played the role of the ‘wartime capital’ of Romania. Besides the political-economic structures, The National Theatres of Bucharest and Craiova moved temporarily to Iasi, leading to Iasi being a cultural capital as well, a reputation which it has kept even to this day. In the interwar period, Romania blossomed culturally unlike ever before, a true intellectual, cultural and artistic revival under the influence of the currents travelling through European stages. In spite of the laurels earned, the name of Sorana Topa is too little known. Formed by the Iasi theatre school, noticed and hired by the national theather of iasi by Marin Sadoveanu, promoted by the previous directors of Iasi theatre, she is offered the chance to study in Paris along with her stage colleagues Aurel and Maria Ghițescu.

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Eigner, Edwin M. "Imps, Dames and Principal Boys: Gender Confusion in the Nineteenth-Century Pantomime." Browning Institute Studies 17 (1989): 65–74. http://dx.doi.org/10.1017/s0092472500002674.

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Two of the most popular forms of culture in the nineteenth century, and perhaps those to which Victorians had access at the earliest stages of their lives, are nursery rhymes and the Christmas pantomimes. The latter were and still remain the most financially successful of English dramatic forms. Indeed, they kept most of the nineteenth-century theatres open, including even the licensed theatres, and nowadays the pantomime accounts for about one-fifth of the live-theatre tickets sold in England every year. The two forms are connected, of course, because so many of the pantomime characters and plots were taken from the nursery tales.

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Jacobs, Elizabeth. "Shadow of a Man: a Chicana/Latina Drama as Embodied Feminist Practice." New Theatre Quarterly 31, no. 1 (January 30, 2015): 49–58. http://dx.doi.org/10.1017/s0266464x15000056.

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One of the most important influences on the development of Cherríe Moraga's feminist theatre was undoubtedly the work of Maria Irene Fornes, the Cuban American playwright and director. Moraga wrote the first drafts of her second play Shadow of a Man while on Fornes's residency programme at the INTAR Hispanic Playwrights-in-Residence Laboratory in New York, and later Fornes directed the premiere at the Brava-Eureka Theatre in San Francisco (1990). The play radically restages the Chicana body through an exploration of the sexual and gendered politics of the family. Much has been written on how the family has traditionally been the stronghold of Chicana/o culture, but Shadow of a Man stages one of its most powerful criticisms, revealing how the complex kinship structures often mask male violence and sexual abuse. Using archival material and a range of critical studies, in this article Elizabeth Jacobs explores Moraga's theatre as an embodied feminist practice and as a means to displace the entrenched ideology of the family. An earlier version of this article was presented at the Department of English and Creative Writing, Aberystwyth University, as part of the 2014 International Women's Day events. Elizabeth Jacobs is the author of Mexican American Literature: the Politics of Identity (Routledge, 2006). Her articles have appeared in Comparative American Studies (2012), Journal of Adaptation and Film Studies (2009), Theatres of Thought: Theatre, Performance, and Philosophy (2008), and New Theatre Quarterly (2007). She works at Aberystwyth University.

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Lease, Bryce. "Ethnic Identity and Anti-Semitism: Tadeusz Słobodzianek Stages the Polish Taboo." TDR/The Drama Review 56, no. 2 (June 2012): 81–100. http://dx.doi.org/10.1162/dram_a_00168.

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Tadeusz Słobodzianek's play, Our Class, addresses the 1941 massacre in the village of Jedwabne, Poland, where an estimated 1,600 local Jews were rounded up by their neighbors, locked inside a barn, and burned to death. First staged in London at the Royal National Theatre in 2009, and later remounted at Teatr na Woli in Warsaw, the play investigates the relationship between anti-Semitism and Polish national identity, exploring how theatre can shape our understanding of history.

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Howard, Tony, and Piotr Kuhiwczak. "Empty Stages: Teatr Provisorium and the Polish Alternative Theatre." New Theatre Quarterly 3, no. 11 (August 1987): 258–72. http://dx.doi.org/10.1017/s0266464x00015244.

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In Autumn 1986 Teatr Provisorium from eastern Poland became the latest of the radical groups from that country to visit Britain after an imposed absence. Like the pioneering Teatr Osmego Dnia a year earlier (featured in NTQ8), they came through the support of the Chapter Arts Centre. Cardiff, the Brith Gof Theatre from Aberystwyth. and contacts at Warwick University. Shortly after their previous English performances at the first LIFT festival, most of the company were imprisoned under martial law – what Poles call ‘the War State’ – and one of their company left Poland for good shortly after his release. In the Spring of 1986 they were officially downgraded to the status of unpaid amateurs in an effort to reduce their output. But the company's director. Janusz Oprynski, believes that their work has not changed fundamentally since its foundation: ‘The theatrical space has not changed; nor has our way of creating a theatrical reality. The most important thing is that drama gives us a possibility of transposing personal experience into the language of theatre and this is perhaps – it should be – the most interesting part of theatre work’. In this composite piece, the full context is provided by the whole company in discussion with Tony Howard, who also describes their most recent productions, and finally Piotr Kuhiwczak, a Warsaw lecturer and essayist, speaks with Janusz Oprynski shortly after his arrival in Britain. The translation is by Barbara Plebanek.

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Richards, Jeffrey H. "Politics, Playhouse, and Repertoire in Philadelphia, 1808." Theatre Survey 46, no. 2 (October 25, 2005): 199–224. http://dx.doi.org/10.1017/s004055740500013x.

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In theatre and drama histories, the politics of the American stage has most often been judged by the litmus test of nationalism, primarily in the “rise” of American-authored drama set in America, the development of American character types, and the appearance of American-born actors on the stages of the early United States. To uncover in the old playbills the mention of a performance of Royall Tyler's The Contrast, to celebrate the development of the stage Yankee, or to focus on Edwin Forrest's muscular rant in The Gladiator is to score a palpable hit for national theatre. Given the scarcity of American texts before the War of 1812, this search for national needles in the (British) theatrical haystack is understandable. But the politics reflected in the theatre in early America is far more complex than traditional theatre histories have acknowledged. Fortunately, there are signs of a new historiography at work. Heather Nathans's recent history of the postrevolutionary playhouses (to 1800) in Boston, New York, and Philadelphia, for instance, uncovers a web of economic and social relationships among the shareholders in the various theatres, which shows that simple party definition hardly accounts for a clear sense of who supports the stage and who does not. Examined more closely than as buildings in which to launch “Jonathan,” American theatres reveal their own traditions for handling topical material, a particularly thorny problem for cultural spaces dominated by British plays and actors. In other words, beyond identifying stage Yankees or following Forrest, finding the political in the theatrical may require other strategies of reading in order to determine the full range of interaction between the political and theatrical spheres.

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Rabey, David Ian. "Adrian Curtin. Death in Modern Theatre: Stages of Mortality." Modern Drama 62, no. 4 (November 2019): 567–69. http://dx.doi.org/10.3138/md.62.4.br2.

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Basting, Anne Davis. "The Stages of Age: The Growth of Senior Theatre." TDR (1988-) 39, no. 3 (1995): 112. http://dx.doi.org/10.2307/1146468.

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Gonzalez, Anita. "Theatre as Cultural Exchange: Stages and Studios of Learning." Theatre Symposium 25, no. 1 (2017): 12–28. http://dx.doi.org/10.1353/tsy.2017.0001.

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Kurnick, David. "Stages: theatre and the politics of style inGreat Expectations." Critical Quarterly 55, no. 1 (April 2013): 94–111. http://dx.doi.org/10.1111/criq.12034.

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Enders, Jody. "MEDIEVAL STAGES." Theatre Survey 50, no. 2 (November 2009): 317–25. http://dx.doi.org/10.1017/s0040557409990093.

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In 1996, R. Howard Bloch and Stephen G. Nichols edited a remarkable volume of essays called Medievalism and the Modernist Temper, in which seventeen scholars pondered, through detailed philological analysis and imaginative cultural-studies approaches, the legacy of the Middle Ages and its relevance to modern times. “WORD'S OUT,” they began, “There's something exciting going on in medieval studies, and maybe in the Renaissance too. The study of medieval literature and culture has never been more alive or at a more interesting, innovative stage.” Bloch and Nichols understood, as few others, the pertinent critical stages of the interdiscipline of medieval studies. But, critically speaking, where was the stage? With the exception of Seth Lerer's terrific piece on Eric Auerbach's gender-biased editorial establishment of the text of the twelfth-century Play of Adam, theatre was nowhere to be found.

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Fowler, Mayhill C. "What Was Soviet and Ukrainian About Soviet Ukrainian Culture? Mykola Kulish’sMyna Mazailoon the Soviet Stage." Nationalities Papers 47, no. 3 (May 2019): 355–65. http://dx.doi.org/10.1017/nps.2019.12.

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AbstractIn the Soviet Union theatre was an arena for cultural transformation. This article focuses on theatre director Les Kurbas’ 1929 production of playwright Mykola Kulish’sMyna Mazailo, a dark comedy about Ukrainianization, to show the construction of “Soviet Ukrainian” culture. While the Ukrainian and the Soviet are often considered in opposition, this article takes the culture of the Ukrainian Soviet Socialist Republic seriously as a category. Well before Stalin’s infamous adage “national in form and socialist in content,” artists like Kulish and Kurbas were engaged in making art that was not “Ukrainian” in a generic Soviet mold, or “Soviet” art in a generic “Ukrainian” mold, but rather art of an entirely new category: Soviet Ukrainian. Far from a mere mouthpiece for state propaganda, early Soviet theatre offered a space for creating new values, social hierarchies, and worldviews. More broadly, this article argues that Soviet nationality policy was not only imposed from above, but also worked out on the stages of the republic by artists, officials, and audiences alike. Tracing productions ofMyna Mazailointo the post-Soviet period, moreover, reveals a lingering ambiguity over the content of culture in contemporary Ukraine. The state may no longer sponsor cultural construction, but theater remains a space of cultural contestation.

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Figzał-Janikowska, Magdalena. "Od rytmizacji do oper i baletów. Wokół muzycznych inscenizacji Jana Dormana." Pamiętnik Teatralny 68, no. 3-4 (December 18, 2019): 141–60. http://dx.doi.org/10.36744/pt.10.

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The paper addresses the issue of musicality in the theatre of Jan Dorman, in particular his last productions, in which music was a starting point for the staging concept. “Musical” thinking about the theatre always had a strong impact on Dorman’s creative process. His first productions included children’s songs and counting rhymes, and this led to a rhythmisation of the text in the subsequent ones. Composing the spectacle along the lines of a musical score, which became the hallmark of Jan Dorman’s theatre, is especially prominent in his last theatre works inspired by larger musical forms, such as concert, ballet and opera. These performances represent a synthesis of various musical tropes and signs that were so characteristic of Dorman’s theatre at various stages of its development.

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Tyszka, Juliusz. "The School of Being Together: Festivals as National Therapy during the Polish ‘Period of Transition’." New Theatre Quarterly 13, no. 50 (May 1997): 171–82. http://dx.doi.org/10.1017/s0266464x00011039.

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For most western theatre people, accustomed to the festival as an institutionalized annual ritual, the notion of a theatre festival as a celebration of true, holiday festivity – as signifying freedom from institutionalized ritual – comes alive more often in the pages of Bakhtin than on the stages of Edinburgh or other ‘festive’ cities. Yet Juliusz Tyszka, surveying no fewer than a hundred and fifty festivals that have sprung up or renewed themselves in his native Poland during the post-Cold War ‘period of transition’, finds that, while their economic success has been surprising in a straitened economy, the social causes which have ensured this success have to do with changed notions of communality and sociality. The festivals signify, he suggests, a rediscovery that joining together in celebration need not be an imposition of church or state, but can be a means of renewal for the national psyche after a long period of suppression. The following article has the quality rather of a heartfelt polemic – and, through lavish illustration, a celebration of the multiplicity of performance styles – than the academic analysis to which NTQ more usually subjects the new theatres of eastern Europe. It is none the less significant as a theatre document for our times.

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Valente-Quinn, Brian. "Trance States and Sufi Stages: The Poetics and Politics of Murid Theatre in Senegal." Theatre Journal 72, no. 4 (2020): 425–42. http://dx.doi.org/10.1353/tj.2020.0098.

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Valente-Quinn, Brian. "Trance States and Sufi Stages: The Poetics and Politics of Murid Theatre in Senegal." Theatre Journal 72, no. 4 (2020): 425–42. http://dx.doi.org/10.1353/tj.2020.0098.

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Füllner, Niklas. "New Brechtian Impulses in Contemporary Finnish Theatre: A Case Study of Juha Jokela’s Esitystalous (2010)." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 87. http://dx.doi.org/10.7146/nts.v28i1.23975.

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At the beginning of the 21st century, Finnish theatre experienced a wave of new, politically engaged drama that came hand in hand with a renewal of aesthetics and dramaturgical strategies. One component of this renewal was a new perspective on Brecht’s epic theatre, which was initiated by visits of Finnish theatre directors to theatre performances, for example, by Frank Castorf, in Germany. As a consequence of this, an interweavement of Brechtian aesthetics and Finnish theatre tradition became a trend on Finnish stages. One example of this is Juha Jokela’s Esitystalous (Performance Economy), which was premiered at Espoon Kaupunginteatteri in 2010. Here, Jokela uses Brechtian alienation effects to put the audience in the position of a critical observer. However, he does not dissolve the unity of actor and role, but sticks to the Finnish acting tradition, thereby creating his very own aesthetics of a new political theatre.

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ROKEM, FREDDIE. "Editorial: Wherein the articles of this issue and some new developments for TRI are introduced." Theatre Research International 33, no. 1 (March 2008): 1–3. http://dx.doi.org/10.1017/s0307883307003355.

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In the summer of 2007 the annual conference of the International Federation of Theatre Research (IFTR/FIRT) met for the first time in Africa. Hosted by Stellenbosch University in South Africa, it was probably the first international theatre conference of its kind on the continent, enabling scholars and practitioners from all over the world as well as from many African countries to present their work on the conference theme: ‘Theatre in Africa – Africa in the Theatre’. This issue of TRI opens with two articles which reflect the deep interest among non-African scholars in the latest developments on African stages as well as the challenge of depicting its complex state of affairs from within. Both contributions examine strategies of subversion mobilized by theatre to create continuity and identity through different readings of the historical past.

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Anđelković, Bojan. "From Retrogradism to Post-Gravitational Art and Back." Maska 31, no. 177 (June 1, 2016): 51–57. http://dx.doi.org/10.1386/maska.31.177-178.51_1.

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Dragan Živadinov creates conceptual total works of art that are procedural and processual in nature. At the centre of interest of his art is the spectator, or the gaze, since the essence of this theatre is produced by a constant turning of the perspective. The project(ile) Noordung 1995-2045 has been conceived as a 50-year project to show the instability of the relation between body and technology. It stages itself and thus repeats the drama of the cosmos. A theatre of repetition that again finds the primary (ritual) sense of theatre.

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Curtin, Adrian. "Orchestral Theatre and the Concert as a Performance Laboratory." New Theatre Quarterly 35, no. 04 (October 8, 2019): 291–311. http://dx.doi.org/10.1017/s0266464x19000356.

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In the past decade the National Theatre has presented two restagings of earlier productions, now featuring an onstage orchestra (the Southbank Sinfonia) that has been choreographed and made a key part of the spectacle: Every Good Boy Deserves Favour, by Tom Stoppard, with a musical score by André Previn, performed in 2009 and 2010, and Peter Shaffer’s Amadeus, performed in 2016 and 2018. Contemporaneously, a vanguard of British orchestras has begun to explore how concerts can be presented in ways that are more theatrically sophisticated than the standard concert format. Here Adrian Curtin investigates ‘orchestral theatre’ as an aesthetic proposition by examining the collaborations between the Southbank Sinfonia and the National Theatre, and their legacy in a series of experimental concerts staged by the Southbank Sinfonia entitled #ConcertLab. He aims to identify the artistic and cultural significance of these collaborations and #ConcertLab so as to better understand contemporary efforts to present orchestras (and, more broadly, classical music) in a theatrically innovative manner. Adrian Curtin is a senior lecturer in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and Death in Modern Theatre: Stages of Mortality (Manchester University Press, 2019), and principal investigator of the AHRC research network ‘Representing “Classical Music” in the Twenty-First Century’.

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Balme, Christopher. "Surrogate Stages: Theatre, Performance and the Challenge of New Media." Performance Research 13, no. 2 (June 2008): 80–91. http://dx.doi.org/10.1080/13528160802639342.

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Kumar, Akshaya. "Stages of life: Indian theatre autobiographies, by Kathryn Hansen, Ranikhet." South Asian History and Culture 3, no. 3 (July 2012): 479–82. http://dx.doi.org/10.1080/19472498.2012.693738.

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O'Neill, Patrick B. "Edward Mullaly. Desperate Stages: New Brunswick Theatre in the 1840s." Theatre Research in Canada 9, no. 2 (January 1988): 212–14. http://dx.doi.org/10.3138/tric.9.2.212.

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Machado, Bernardo Fonseca. "SOCIAL EXPERIENCE AND US MUSICAL THEATRE ON SÃO PAULO’S STAGES." Sociologia & Antropologia 10, no. 3 (December 2020): 957–80. http://dx.doi.org/10.1590/2238-38752020v1038.

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Abstract At the turn of the twenty-first century, Broadway musicals began to be produced in many countries outside the United States. In Brazil, particularly the city of São Paulo, new laws, business interests, and the fascination of some artists with US productions converged to enable the creation of a new system of musicals. In this article I examine the social elements I consider fundamental to understanding the proliferation of musicals in recent years. My description focuses especially on how some actors orchestrated multiple procedures and interests to organize a unique and fertile setting that changed the city’s theatrical production. In the process, I explore theatre as an expressive form that acts as a thermometer of social desires and practices.

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Beck, Dennis C. "Becoming Object: Reimagining the Human on Czech “New Theatre” Stages." Theatre Journal 73, no. 1 (2021): 61–81. http://dx.doi.org/10.1353/tj.2021.0005.

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Swinton, Tilda. "Subverting Images of the Female." New Theatre Quarterly 6, no. 23 (August 1990): 215–28. http://dx.doi.org/10.1017/s0266464x00004516.

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This is the third in a series of interviews with women who are involved in various capacities in feminist theatre today, whose career paths intersect and connect with the feminist movement and the feminist theatre movement, tracing developments and shifts in the feminist theory and practice of the past fifteen years. The first interview, with Gillian Hanna of Monstrous Regiment, set out to provide an update of previously published information, and thereby to keep alive and accurate the current debate about British feminist theatre groups. The second interview, with playwright Charlotte Keatley, put forward a new vision of a ‘map’ to women and (play)writing. This interview carries on the discourse between feminist theatres and their intended audiences by putting forward the responses of one of Britain's strongest young performers, Tilda Swinton, to questions about the challenges and expectations involved in performing gender roles and reversals, or of ‘playing woman’, on film and on stage. Tilda Swinton was born in London in 1960. She studied Social and Political Sciences and English at Cambridge as an undergraduate from 1980 to 1983, under the supervision of Margot Heinemann. It was at Cambridge that Swinton first met and worked with director Stephen Unwin, her closest colleague throughout her career. In 1983, she went to Southampton and worked for six months at the Nuffield Theatre, where she earned her Equity card. In 1984–85, she worked with the RSC, but has chosen not to work on the main stages of the nationally subsidized theatres since. Swinton is primarily known for her work in political theatre, based at the Traverse Theatre, Edinburgh, the Almeida (most notably on The Tourist Guide in 1987 and Mozart and Salieri in 1989), and the Royal Court in London, where she starred in the celebrated Man to Man – a transfer from the Traverse – in 1987, and where she assistant-directed Conquest of the South Pole in 1988. Swinton has also worked at the National Theatre Studio, and has just played Nova at the Cottesloe in a production of Peter Handke's The Long Way Round. She has worked in Italian opera (1988), and has collaborated on and been featured in films by John Berger (Play Me Something, 1988) and Derek Jarman (most notably, Caravaggio, 1986; The Last of England, 1987; and War Requiem, 1988): she continues to collaborate with both. Current and future projects include work on a TV series written by John Byme, which began filming in late September 1989, and work with director Sally Potter on a film adaptation of Virginia Woolf's Orlando, in which Swinton plays Orlando.

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